The hump I

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The hump I (Alexej von Jawlensky)
The hump I
Alexej von Jawlensky , 1911
Oil on cardboard , mounted on a wooden panel
53 × 49.5 cm
Private collection, Locarno

The hump I is the title of a painting by Alexej von Jawlensky from 1911. It shows a woman who suffers from kyphosis . According to science, the picture is one of Jawlensky's most important works. Today it is part of the private Andreas Jawlensky collection in Locarno.

description

The painting The Buckel I is executed in the painting technique oil on cardboard and mounted on a wooden panel. It has the dimensions 53 × 49.5 cm. It is signed on the upper right: A. Jawlensky 1911 . In the catalog raisonné , the picture bears the number CR I 381 . Today it is in the private collection of Andreas Jawlensky in Locarno.

In 1911 Jawlensky, his future wife Helene Nesnakomoff, their son Andreas Nesnakomoff and Marianne von Werefkin spent the summer in Prerow , where he made the acquaintance of a fisherman's wife who had a humpback. He portrayed the woman three times, but not as an individual model, but as a type. The pictures bear the title Hunchback fisherman's wife, the Hunchback and The hump I . While the first two works still refer to the suffering of women through a specific facial expression, such as the oblique position of the mouth, the physical deformation of her body recedes in the third picture. The neckless head with a pointed-nosed and wide-eyed face does not show a suffering, but a rather serious expression. Jawlensky writes that at that time he “succeeded for the first time in finding the expression that corresponds to his artistic desire”.

The colors of the pictures are very intense and are continued later, from 1912, in his typical mask-like stylized heads . In the first two pictures it is still applied in a rough and sketchy manner, but in the painting Der Buckel I it is applied smoothly. The contours are black, blue and red. The composition shows a condensed figure that completely fills the format and thus creates the impression of narrowness. According to the Jena curator Erik Stephan, the emotional agitation and the physical deformation of the motif could have been synonyms for Jawlensky for the strange, bizarre and demonic that live in us .

In 1914, at the beginning of the First World War , Jawlensky was expelled from Germany and had to leave a lot behind in his Munich apartment - including this picture. He then asked his friend Cuno Amiet from his Swiss exile to bring him his painting La maison de Père Pilon (1890) by Vincent van Gogh from Munich . In the same year Amiet went to Munich, but also brought other pictures, including this one, to Switzerland. Jawlensky's future agent, colleague painter and art dealer Emilie Scheyer saw the picture in an exhibition of Russian artists in Lausanne in 1915 and then sought contact with him. Jawlensky made a scaled-down replica of the work for her in 1917.

Exhibitions

  • Alexej von Jawlensky - “I work for myself, only for myself and my God.” September 2 to November 25, 2012, Jena Art Collection .
  • documenta 1 from July 15 to September 18, 1955, in catalog no.235

literature

  • Erik Stephan: Alexej von Jawlensky - “I work for myself, only for myself and my God.” Städtische Museen Jena, Jena 2012, ISBN 978-3-942176-70-5 (exhibition catalog).
  • Klaus Hammer: Jawlensky in Jena. In: The paper. No. 19, September 17, 2012, ( das-blaettchen.de ).

Web links

Individual evidence

  1. ↑ Clemens Weiler: In: Helmut Kindler : Kindlers Malereilexikon ( online ).
  2. ↑ Erik Stephan: Jawlensky's path from "mystical minds" to "meditations". In: Thüringische Landeszeitung. October 21, 2011, ( tlz.de ).
  3. ↑ The year 1914. In: Simone Haas, Silke Thomas: Meisterwerke IV. Galerie Thomas, Munich 2008, galerie-thomas.de ( Memento of the original from March 13, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. (PDF, p. 55). @1@ 2Template: Webachiv / IABot / www.galerie-thomas.de
  4. ↑ Alexej von Jawlensky: Memoirs. (1937). Reprinted in the catalog of the Dortmund exhibition Alexej von Jawlensky. Travel, friends, changes in the Museum am Ostwall . Heidelberg 1998, p. 116.
  5. ↑ Erik Stephan: Alexej von Jawlensky - "I work for myself, only for myself and my God." Städtische Museen Jena, Jena 2012, ISBN 978-3-942176-70-5 , p. 90. (exhibition catalog).